年代分期
西進時期 Westward Expansion (1836-1860)
「年輕人，到西部去，和你的國家一同成長。」
—霍瑞斯葛里利，報紙編輯，一八五一年
“Go West, young man, and grow up with the country.”
— Newspaper editor Horace Greeley, 1851
美國總統安德魯傑克遜，就像當時許多美國人一樣，懷抱著擴張「自由帝國」的想法。他們想向西拓展美國疆界。當拓荒者西行加州絡繹於途時，廢奴主義者開始嘗試落實「自由」的真諦。
Presidents Andrew Jackson, like many Americans of this time, embraced the notion of enlarging the "empire for liberty." They wanted to expand the borders of America westward. While some pioneers headed west to California, abolitionists attempted to expand the idea of what "liberty" in America meant.
[相關展品]
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5a. 雷雨後的麻州諾森頓霍利約克山頂（VIEW FROM MOUNT HOLYOKE）by THOMAS COLE, 1836
油彩‧畫布（130.8 x 193 公分），© 大都會博物館。
Oil on canvas; 51 1/2 x 76 in. (130.8 x 193 cm). © The Metropolitan Museum of Art.十九世紀風景畫盛行，城市居民將鄉村生活視為解決工業化問題的出口。此畫呈現美國西進時期人類心靈面對開化與未開化之間的矛盾與衝突。
Urban dwellers viewed rural life as a remedy for the problems of industrialization. Thomas Cole’s split representation of the Connecticut Valley depicts the inherent conflict between wilderness and civilization that characterized westward expansion.
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5b. 最後的摩希根人（THE LAST OF THE MOHICANS）by N. C. WYETH, 1919
油彩‧畫布。布蘭地河博物館收藏。
Oil on canvas. Collection of the Brandywine River Museum.此畫以英勇戰士造型呈現，稍嫌偏離庫柏原著之「高貴野蠻人」形象，不過仍看得出當時人們對於美洲原住民傳統一心神往。
Though his depiction of Uncas as a formidable warrior departed from the author’s character description, it remained true to the fascination with the Native American heritage.
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6a. 美洲紅鶴（AMERICAN FLAMINGO）by JOHN AUDUBON, 1838
羅伯哈維爾 (西元1793年~1878年)，根據約翰詹姆士奧杜邦畫作蝕刻。板：97 x 65公分，紙張：101.28 x68.26公分。影像 © 2006信託委員會，國家藝廊，華盛頓特區。
Robert Havell (1793-1878), Engraver after John James Audubon. Hand-colored etching and aquatint on Whatman paper, from ‘The Birds of America’ (plate CCCCXXX1). Plate: 97 x 65 cm (38 3/16 x 25 9/16 in.) sheet: 101.28 x 68.26 cm (39 7/8 x 26 7/8 in.) Image courtesy of the Board of Trustees, National Gallery of Art, Washington, D.C.鳥類圖鑑四百多張水彩畫之一，替早期的珍禽異獸留下紀錄。
Birds of America serves as an invaluable record of early wildlife.
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6b. 卡特林畫曼丹首領馬多托巴肖像（PORTRAIT OF MAH-TO-TOH-PA）by GEORGE CATLIN, 1861
油彩‧紙板，47 x 62.3 公分。保羅梅倫收藏系列。影像 © 2006信託委員會，國家藝廊，華盛頓特區。
Oil on card mounted on paperboard, 18 1/2 x 24 in. (47 x 62.3 cm.). Paul Mellon Collection. Image courtesy of the Board of Trustees, National Gallery of Art, Washington, D.C.畫家特意改變印地安服飾使之更為高雅、不畫武器讓主角看來較不具威脅性。印地安人對凱特林作畫感到十分驚恐，他們相信畫人像會帶走一點被畫者的靈魂。
Catlin altered the chief’s dress to enhance the “grace of the figure”. The openmouthed audience, who were aghast at his skill in capturing what Indians believed to be a part of the sitter’s spirit, is testimony to the artist’s ambition and stunning accomplishment.
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8a. 俯瞰加州優勝美地山谷（LOOKING DOWN YOSEMITE）by ALBERT BIERSTADT, 1865
油彩‧畫布，163.83 x 245.11 公分。© 伯明罕藝術博物館。
Oil on canvas, 64 1/2 x 96 1/2 in. (163.83 x 245.11 cm.). © Birmingham Museum of Art.全景式的優詩美地山谷展現恢弘的氣勢，人類因此無足輕重了。
This large, panoramic landscape of the Yosemite Valley pulls the viewer into the dramatic scene. Missing in the painting are any people - only a shroud of golden light breaks through the clouds. In Bierstadt’s scenario, the viewer discovers that before so magnificent a landscape, human beings dwindle to insignificance. (Yosemite Land Grant was passed in 1864.)
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8b. 拉科他無弓部落（SANS ARC LAKOTA）by BLACK HAWK, 1880
第十八幅和第三幅。鋼筆/墨水/鉛筆‧紙，24.13 x 39.4公分。記帳本尺寸：26 x41.9 x 4.3公分，記帳本全開寬度：85公分。T614。梭氏系列珍藏，費尼莫藝術博物館。
plate no.18 & plate no.3. Pen, ink, and pencil on paper, 9 1/2 x 15 1/2 in. (24.13 x 39.4 cm.). Entire book: 10 1/4 x 16 1/2 x 1 3/4 in; width with book opened: 33 1/2 in. T614; Thaw Collection, Fenimore Art Museum.印地安蘇族黑鷹酋長手繪帳本畫，隨著部落移居至保留區，此作品成為原住民最後的文化遺產。
The ledger book revealed intriguing details of the Lakota people.
